Not only can they understand it, but they also think that these paintings are full of Eastern Xia style and are rare to see.

It's a pity that the Palace Museum originally made a small batch of imitations, and until now, this "Bean Blossom Picture" is the only one left in the gallery.

The effect of imitation prints on calligraphy and painting appraisal is definitely not as good as the originals.

However, the look and feel is still better than the cold electronic album, and it is more convenient than drawing on an iPad.

["Bean Blossoms from the Immortal Calyx Changchun Album"]

[Oil Painting Technique: Lv.7 Master Level 1]

[Chinese Painting Techniques: Lv.6 Professional Painter·Level 3]

[Mood: Simple work]

When Mr. Cao asked him to study and study the style of Lang Shining's works, Gu Weijing had seen many of his works, and had already used calligraphy and painting appraisal techniques to appreciate this "Bean Blossom Picture".

The results are actually quite surprising.

The mood is only evaluated as a simple work, which is really nothing.

A similar political assignment was assigned by Emperor Kangxi to the Qing Palace Painting Academy and required paintings to praise auspiciousness. It is completely understandable that the painter did not paint with passion.

It's just this painting technique...

I can’t say that Lang Shining’s paintings are so bad.

His master-level painting skills are not bad at all, and he already belongs to the small group of people at the top of the pyramid.

But compared to Castiglione's fame, historical status, and especially the refreshing and outstanding look and feel that this painting brought to Gu Weijing, it generated strong expectations.

In the system analysis, this artist's technique appears to be mediocre.

He was a maniac about seals and a hard-core collector of cultural relics. Emperor Qianlong, who had seen countless famous paintings, was so excited that he wrote a poem in person and said, "I am quite good at taking pictures when I was a boy."

painter.

A master is at the first level and a profession is at the third level, which is indeed not high.

Take the works that Gu Weijing has admired as an example:

His oil paintings are not as good as those of the female painter Carol.

Not to mention the level of Chinese painting compared to Mr. Cao Xuan, even Mr. Cao Xuan's current youngest disciple, Tang Ning, was much inferior when he was in his twenties.

If you think about it carefully, although this result is unexpected, it is also reasonable.

Castiglione has never been one of the best painters in oil painting.

Not to mention Europe at that time, among the missionaries who came to Beijing, there were only two or three people recorded in the records who had similar painting skills to Castiglione.

When it comes to Chinese paintings that pay more attention to talent and artistic charm, how can Castiglione compare to the local painters and scholar-officials of the Eastern Xia Dynasty.

Whether it can be ranked among the top 100 at the same time is actually a bit uncertain.

Some painting methods are born with the charm of 1+1 greater than 2.

Castiglione oil paintings are not top-notch, and Chinese paintings are even less outstanding.

But because of his skillful fusion of painting styles, he won the favor of three generations of emperors and was selected as one of the ten greatest painters in the 268-year history of the Qing Dynasty. He became a high-ranking official and dignitary awarded the third rank.

Gu Weijing prepared pen, ink, paper, and stared at this "Bean Blossom Picture".

Castiglione's surviving works include oriental-style works using brushes and rice paper, as well as works using linen canvas and Western painting tools.

New body painting is a painting idea and concept that is not limited to painting tools.

The "Summary of the Essence of New Body Painting" in his mind is divided into upper and lower chapters.

They are "Western Colors", which focuses on painting flowers and natural scenery, and pays attention to the Eastern composition skeleton and Western light and dark colors, and "Line", which mainly paints buildings and figures, and combines the perspective focus of Western line structures with Eastern connotations and styles.

Drawings and Paintings].

Compared with the Western painting chapter, the line drawing chapter incorporates more sketch lines.

Gu Weijing planned to start with simpler aspects.

This "Bean Blossom Picture" is a typical work of "Western Heavy Color", and it only involves two fields: "Chinese Painting Techniques" and "Oil Painting Techniques".

The moment he picked up the brush, the "Abstract of the Essence of New Body Painting" in his mind began to give a large number of painting details.

"The Western method emphasizes color, focusing on oil painting as the basis, and the Chinese method as a supplement. The flowers and birds all choose to take the light from the front, dilute or abandon the projection effect, the objects are soft, fresh and lifelike, and the colors are wonderful..."

The so-called Western method of heavy color,

It can be simply understood as using Chinese painting methods to transform Western oil paintings.

The flowers and birds retain the light and dark effects of the oil painting, abandoning the gray tones of large-area projection, making the entire picture look soft in color and in a small and fresh style.

In some cases, you can even boldly use some non-water-soluble mineral pigments for color adhesion.

Of course, this is just the theoretical method of "Western methods and heavy colors".

Many scholars of later generations have already concluded it, but drawing it out is not the same thing. Just like the theory of relativity is there, whether an atomic bomb can be built is still a long way from the five constants.

Gu Weijing's previous understanding of these theories was also very simple.

The paintings he painted were neither east nor west, neither Chinese nor foreign, they were completely different and looked very poor in appearance.

But now, "Summary of the Essence of New Body Painting" provides not only theory, but also specific operational details.

"To draw bean flowers, first dot the leaves, then jacquard, and finally write the branches. Western oil painting emphasizes proportion, so the branches and leaves cannot be connected to the flower head in a straight line, so fill them with jade-colored curves. The light and dark shadows change, and the center and back strokes are used to fill in the veins and leaves as a whole.

"

Gu Weijing thought for a moment.

According to the above guidance, when drawing bean flowers, you should first point out the leaves, then draw the petals, and finally use emerald green curves to draw the branches to fill the gaps between them.

In order to express the changes in light and dark shadows, you should use the center of the brush to trace the veins and leaves backwards.
Chapter completed!